Although it is an emerging research field, the philosophy of film has a long tradition of investigating the complex relationship between painting and film, with a special focus on films about painting: on how the two art forms encounter each other from a spatial and temporal perspective. In addition, the field has long explored the ways in which films represent the modern city. From the beginning, film has been associated with the representation of the modern city and of other art (...) forms. Focusing on O Pintor e a Cidade/The Artist and the City (1956) by Manoel de Oliveira (1908–2015), and grounded in Gilles Deleuze’s philosophy of film, the following touches on both of these themes. The Artist and the City is a short documentary on António Cruz (1907–1983)—a watercolorist known for his landscapes of Porto—the subject of which is not only the painter’s life and work but also the city itself, as its title suggests. As the following will show, the film offers a twofold representation of the city: that provided by Manoel de Oliveira, and that provided by the subject of the documentary, António Cruz. (shrink)

Disturbed by these acrimonious arguments, the authors - former colleagues and university-press board members - embarked on an ambitious project to reexamine a number of major literary and philosophical works dealing with the liberal arts and education. With their discussions ranging from Plato to Rousseau, from Cicero to Vico, from Erasmus to Matthew Arnold, Sousa and Weinsheimer offer not a history of education philosophy but an examination of the present.

Este texto discute a relação imagem/palavra no filme _O Processo do Rei_, de João Mário Grilo, pois acredito que aqui, a palavra ganha uma dimensão imagética e a imagem converte-se em narrativa. O Cinema, na sua origem, foi histórico, e há quem diga que ele sempre o é, apresenta, na sua própria urdidura, as marcas do seu processo de criação. Assim sendo, muitas vezes recorreu-se ao cinema para contar a História, recontá-la, exaltá-la, torná-la imagem para que ela possa, (...) novamente, ser discutida e quiçá, revivida. O grande problema que se põe ao cinema Histórico é: como recontar através de imagens em movimento um tempo que chegou até nós pela palavra e pelas imagens pictóricas? Como manter uma fidelidade imagética ao tema que se pretende retratar? Em alguns casos, o peso da história sufoca o próprio filme (vide algum cinema francês dos anos 40/50). Mais ainda, como ser ao mesmo tempo iconicamente fiel, mas profundamente contemporâneo, explorando aspectos eternos e cíclicos da própria História? O realizador João Mário Grilo conseguiu resolver esta equação em seu filme O Processo do Rei, de 1989, onde a palavra histórica vira imagem, fiel e infiel de um tempo que passou, mas cujo sentido continua profundamente presente. (shrink)

O objetivo deste artigo é compreender o fenómeno da propaganda indirecta no cinema enquanto dispositivo ideológico de controlo da vida privada, identificando a forma como foram tratados os papéis do feminino e do masculino no que à intriga amorosa conducente ao casamento diz respeito.Para o efeito, foram analisados, à luz do contexto sociocultural e político das duas primeiras décadas do Estado Novo em Portugal, sete filmes de ‘comédia à portuguesa’ marcantes do chamado ‘período de ouro’ do cinema português.A (...) análise comparada do enredo faz emergir um paradoxo: por um lado, o casamento, tido à luz da época como epicentro da vida privada e unidade primária da vida social e afetiva, é naturalmente um dos tópicos centrais nessas narrativas - tudo se encaminha para ele como concretização e realização individual. Porém - salvo raríssimas exceções -, nada dele é retratado. A sua vivência exterior ou social, e sobretudo quotidiana, privada, é omissa. Tratado dessa forma, o casamento não é mais do que um “desfecho ornamental” e uma utopia: o círculo da vida comum a dois nunca é invadido pelo espetador. (shrink)

Like many sociocultural phenomena in Brazil, popular music, as everyone knows, is the result of a meeting of influences. It could almost be said that it is born a cross-breed, given the half-European, half-African origins of its best-known first genres, lundu, choro and maxixe. As a result of its history it comes under the sign of the Cannibalism, the metaphor invented by modernist writers in the 1920s to refer to the ‘ritual devouring’ by which Brazil assimilated foreign values and made (...) them its own.Caetano Veloso and Gilberto Gil readily used the concept of Cannibalism at the end of the 1960s, when they founded Tropicalismo, which claimed a mixture of genres, styles and arts as its basis, and married international pop music and Brazilian traditions, electric guitars and berimbau. Tropicalismo as such only lasted for a few months, but the ideas which it promoted profoundly marked contemporary Brazilian culture. Caetano Veloso returned to the history of this movement in Verdade Tropical, an autobiographical work in which he reveals his thoughts on a number of subjects close to his heart: music, the cinema, masters/teachers, friends, family, love, sexuality freedom, prison, exile, books, language, etc. For this author, composer, performer, actor, director, poet and prose writer, inveterate and voracious reader and incorrigible chatterbox, anything to do with human beings is fair game. For Caetano loves words, and loves to talk about words. As early as the acknowledgements page he praises Unamuno, the author, according to him, of comments which are “the most moving that a foreigner has ever written about the Portuguese language”. And in a chapter entitled ‘Língua’ he mentions not only the songs he has written in English and his interest in the Anglo-Saxon language, but also his attachment to Romance languages in general and Portuguese in particular. (shrink)

On the one hand, there’s the internal development of cinema as it seeks new audio-visual combinations and major pedagogical lines and finds in television a wonderful field to explore.1My aim in this essay will be to approach cinema, philosophy, and cinematic pedagogy through an exploration of the interest and impact that the Portuguese filmmaker Manoel de Oliveira has had on the philosophical thought regarding cinema and the moving images of Gilles Deleuze. According to Deleuze, there is (...) a principle of affinity between the two forms of thought expression, explored as a peculiar transversal project.. (shrink)

By Portuguese myths we mean several kinds of narratives, all of which actualize fundamental aspects of the Portuguese national imagination. Some are foundation narratives (Sâo Mamede, Ourique); others are historical facts that were sung so often over the years by Portuguese and foreign poets that they came to signify basic schemes of the human imagination (Inês de Castro's pure love, whose realization was frustrated by a fight between two men, father and son); other so-called Portuguese myths, (...) on the contrary, are built around concepts that give metaphysical shape to supposed characteristics that define the national soul (saudosismo, the doctrine of nostalgia, which attempts to define the Portuguese national soul as the search for a mythical initial unity that would create a wholeness in which contraries would be abolished; the Fifth Empire as its realization on Earth); other Portuguese myths express the supposed divine predestination of the people and of the Portuguese Man, based upon divine intervention in the founding of the nation in Ourique (the Fifth Empire that would be the Age of Spirit announced by Joachim de Fiore); still others are based on historically negative facts (King Sebastian and the defeat at Alcazarquibir) but transformed through archetypal elements to show the capacity for renewal out of the defeat, a renewal that goes beyond real historical renewal to include spiritual renewal of the Portuguese Man and his fatherland, which should produce the Fifth Empire conceived either in earthly or spiritual terms. To these myths I will add a legend preceding the formation of the nation, King Roderick's Legend, because it attempts to justify the loss of Visigothic Spain to the Arabs. (shrink)

알랭 바디우는 젊은 시절부터 영화에 대해 지속적인 관심을 보여왔고, 많은 글을 통해 예술로서의 영화를 옹호하였다. 바디우는 자신의 예술론을 비미학(inesthetique)이라는 이름으로 정리하였는데, 이것은 예술 밖에서 예술에 대해 사유하는 것이 아니라 예술 작품 안에 뛰어들어서 작품이 만들어내는 진리를 통해 철학을 구성하는 작업이다. 그러나 바디우에게 모든 예술 분야가 같은 지위를 가지는 것은 아니다. 특히 영화는 연극처럼 진정한 운동이나 변화를 일으키는 것이 아니라, 운동의 환영을 만들 뿐인 것이라고 말하여 영화의 부족함을 드러낸다. 그러나 다른 한편으로 바디우는 일곱 번째 예술인 영화가 다른 예술들의 덤(plus-un)이라고 말하며, 영화만이 (...) 20세기의 유일한 대중 예술이라고 평가함으로써 영화를 가장 우월한 예술로 평가한다. 최근의 저작에서 바디우는 헤겔 미학의 연장선상에서 영화를 사유한다. 이런 관점에서 영화는 모든 예술을 종합하는 최후의 예술이다. 영화에 대한 바디우의 사유는 그의 철학에서 가장 독특한 개념인 벗어남(soustraction)을 잘 보여준다. (shrink)

This article examines popular cinema’s interactions with digital culture, focusing on cinema and social structure. A product of technological and social developments, digital culture has introduced the creation of cyberspace, the emergence and spread of social media, and the formation of virtual communities. This article focuses on a specific period (1980 – 2010) to examine the evolution in cinema of portrayals of digital culture. The analysis includes four influential films: WarGames (1983, by John Badham), Perfect Blue (1997, (...) by Satoshi Kon), Pulse (2001, by Kiroshi Kurosawa), and Life in a Day (2011, by Kevin Macdonald, Loressa Clisby, and Tegan Bukowski). The article provides a guide to popular cinema's interaction with and use of the possibilities offered by digital culture, revealing how the four selected films reflect digital culture themes. Each film demonstrates different aspects and dynamics of digital culture at a particular time, offering a unique look at that period's social and technological landscape through its portrayal of technological developments, human relations, cultural values, and social norms. Each film evaluates the impact of the digitization process on cinema from different perspectives, depicting how cinema adapts and responds to technological changes. (shrink)

Fernando Coni Campos é considerado um dos maiores roteiristas da nossa cinematografia, autor de filmes importantes como 'A Viagem Ao Fim do Mundo', 'Ladrões de Cinema' e 'O Mágico e o Delegado'. 'Cinema - Sonho e Lucidez' é uma reunião da reflexão sobre cinema do cineasta, morto em 1988, acrescida de alguns contos que mostram todo o seu domínio em contar histórias.

Boredom, in cinema as well as in our everyday experience, is usually associated with a generalised loss of meaning or interest. Accordingly, boredom is often perceived as that which ought to be avo...

This paper focuses on the contributions to natural history, particularly in methods of plant classification of the Portuguese botanist, man of letters, diplomat, and Freemason Abbé José Correia da Serra (1751-1823), placing them in their national and international political and social contexts. Correia da Serra adopted the natural method of classification championed by the Frenchman Antoine-Laurent de Jussieu, and introduced refinements of his own that owe much to parallel developments in zoology. He endorsed the view that the classification of (...) plants should be based on the establishment of affinities rather than of differences. The emphasis on affinities went hand in hand with the development of the concept of symmetry. This idea was introduced by Correia da Serra in systematics and was adopted and further developed by his friend, Augustin-Pyramus de Candolle. Correia da Serra also argued that Cryptogamia reproduce sexually, advocated extension of methods of comparative anatomy from zoology to botany, and applied them to the study of fruits. Correia da Serra was one among many of the estrangeirados, Portuguese "Europeanized" intellectuals who traveled extensively abroad in most cases to escape political or religious persecution at home. The estrangeirados were important contributors to 18th and 19th century European thinking. Most of the estrangeirados were pivotal in the introduction, dissemination and propagation of the new sciences in Portugal, but unlike most of his fellow estrangeirados, Correia da Serra was also an innovative man of science in his own right. (shrink)

In this paper, I develop a unified account of cinematic representation as primary depiction. On this account, cinematic representation is a distinctive form of depiction, unique in its capacity to depict temporal properties. I then explore the consequences of this account for the much-contested question of whether cinema is an independent representational art form. I show that it is, and that Scruton’s argument to the contrary relies on an erroneous conception of cinematic representation. CiteULike Connotea Del.icio.us What's this?

This article examines the breathing and breathless body in Camille-Vidal Naquet’s Sauvage. Respiration has been characterised by Peter Sloterdijk, in the first volume of his Sphären trilogy, as the first extension of the womb. The air we breathe is a “nobject” that escapes the subject-object relation, like the placenta before it. Sauvage engages the respiratory, alongside the placental and the acoustic, as three pre-oral “nobjects” for exploring what Leo Bersani has termed the body’s “somatic receptivity”. Duration, framing, lighting, and camera (...) movements cultivate a spectator’s receptivity to these “nobjects” and participate in acts of sphere formation. This provides a framework for thinking about how cinema itself might function as a “nobject”: a connective medium or sphere that supports and augments a subject, providing a field of protection and attention. However, the film’s presentation of breathlessness also signals a blocked receptivity, an inability to take in, introducing friction and resistance to the discourse of immediacy and exchange that characterises philosophical reflections on breath. Breathlessness has implications for thinking about bodily autonomy and forms of freedom that speak to the queer politics of Sauvage, as well as questions about movement and stillness, animation and lifelessness, that reflect back on the medium of film itself. (shrink)

Film theory and its emphasis on political and ideological readings of films dominated much of cinema studies in the '70s and '80s. Since then, in response to what some view as the shortcomings of theoretical approaches, a variety of other methods have emerged or reemerged. In many ways, as Nico Baumbach argues, "Anti-Grand Theory" has won the day but its victory is, in part, based on misreadings or simplifications of '70s film theory. In particular, Baumbach views contemporary critical approaches (...) to film as abandoning the crucial and productive ways in which theory understands the relationship between cinema, politics, and art. Baumbach does not advocate a return to the orthodoxies of the seventies but rather reads the work of Ranciere, Badiou, and Agamben as providing new ways of thinking about the history of film theory and how film creates its own way of thinking about politics. Moreover, at a time when digital technologies are asking us to think of film and the film image in new ways, the work of these thinkers once again asks, "What is Cinema?" but in a more expansive sense that can help us account for transformations in how moving images are produced, distributed, and exhibited in the twenty-first century. (shrink)

Este artigo apresenta e comenta três dezenas de casos de utilização das armas portuguesas nas portadas de livros quatrocentistas e quinhentistas. Esta utilização enquadra-se no âmbito da heráldica tipográfica, com força expressiva equivalente à dos símbolos pessoais ou familiares, quase sempre porque editores, impressores ou livreiros entendiam que o escudo nacional dignificava sobremaneira o seu trabalho.

This volume is a collection of essays of a philosophical nature on the subject of technology, introducing authors from the Portuguese-speaking community, namely from Portugal itself, Africa and Brazil. Their contributions detail a unique perspective on technology, placing this important topic within the historical, ideological and social contexts of their countries, all of which share a common language. The shared history of these countries and the cultural and economic specificities of each one have stimulated singular insights into these thinkers’ (...) reflections. The essays are thematically diverse. Among the topics covered are technogenic knowledge, visions of technology, risks and uncertainties, mediatization, digitalization, and datafication, engineering practice and ethics, alternative technoscientific strategies, ontotechnologies of the body, virtual and archive. The contributions also explore other themes that are more closely related to the semi-peripheral world, such as technological dependence and the incorporation of Western technology into the social structure of ancestral communities. This book appeals to students and researchers and provides a voice to authors whose work are not usually available in English-language publications. It serves as an ideal guide for all those who seek rigorous and geographically widespread knowledge regarding thinking on technology in several Portuguese-speaking countries. (shrink)

In Selfless Cinema?, Sarah Cooper maps out the power relations of making, and viewing, documentaries in ethical terms. The ethics of filmmaking are often examined in largely legalistic terms, dominated by issues of consent, responsibility, and participantse(tm) or film-makerse(tm) rights, but Cooper approaches four representative French film-makers e" Jean Rouch, Chris Marker, Raymond Depardon, and Agns Varda e" in a far less juridical way, drawing on the ethical philosophy of Emmanuel Levinas. She argues that, in spite of Levinase(tm)s iconoclastic, (...) anti-ocular thinking, his concept of visage is richly applicable to film, and especially to documentary. (shrink)

In a conference from 1987 on ‘What is the Creative Act?’, Deleuze argues that a fundamental and mysterious affinity subsists between the work of art and the act of resistance. Starting from this statement, Agamben in his echoing text ‘What is the Act of Creation?’ presents an idea of resistance co-essential to power itself. Each power, in other words each possibility for human beings of doing something, is connected to their impotence, not necessarily understood as total absence of power, but (...) as potential to not-do. Therefore, in the very creative act one detects something that resists and opposes the critical possibility of a retreat, of an emptiness that is itself a form of potentiality. The essay picks things up from here. The act of resistance, described in terms of dynamis, as power which is always in contact with its power-not-to, is identified as the core element of modern cinema images, notably in Italian neorealism. (shrink)

In this article we explore the educational potential of cinema. To do this we first analyse how the American critical thinker Henry Giroux tries to give body to an educational theory in relation to cinema. His ‘film pedagogy’ is described as developing a critical response of the learner in relation to the public sphere of film. Giroux’s approach, however, seems to forget rather than explore the potential that is specific to the medium. Secondly, the article analyses Walter Benjamin’s (...) (1936, Illuminations, London, Pimlico) essay ‘The work of art in the age of mechanical reproduction’, because here we find not a different educational response to cinema, but one of the first studies on cinema that describes its ontological nature and the potential of moving images for thought. Finally, the article discusses the cinema philosophy of Gilles Deleuze, who, in contrast to Giroux, does not construct a Cartesian framework around cinema. Rather, he recognizes and explores cinema’s potential for thoughts like Benjamin did. In this way, Deleuze reverses Giroux’s question of how education should respond to cinema. A pedagogical discussion hereby comes to the fore that does not ask the question of what methodology should be used in education to think critically about cinema, but what the implications are of the nature of cinema for thought and for education. (shrink)

Gilles Deleuze has produced some of the most important--and most formidable--theory on cinema to appear in the last half-century. Deleuze on Cinema provides a thorough and reliable guide to Deleuze's thought on the art of film, elucidating in clear language the shape and thrust of Deleuze's arguments found in his influential books on cinema.

By Portuguese myths we mean several kinds of narratives, all of which actualize fundamental aspects of the Portuguese national imagination. Some are foundation narratives (Sâo Mamede, Ourique); others are historical facts that were sung so often over the years by Portuguese and foreign poets that they came to signify basic schemes of the human imagination (Inês de Castro's pure love, whose realization was frustrated by a fight between two men, father and son); other so-called Portuguese myths, (...) on the contrary, are built around concepts that give metaphysical shape to supposed characteristics that define the national soul (saudosismo, the doctrine of nostalgia, which attempts to define the Portuguese national soul as the search for a mythical initial unity that would create a wholeness in which contraries would be abolished; the Fifth Empire as its realization on Earth); other Portuguese myths express the supposed divine predestination of the people and of the Portuguese Man, based upon divine intervention in the founding of the nation in Ourique (the Fifth Empire that would be the Age of Spirit announced by Joachim de Fiore); still others are based on historically negative facts (King Sebastian and the defeat at Alcazarquibir) but transformed through archetypal elements to show the capacity for renewal out of the defeat, a renewal that goes beyond real historical renewal to include spiritual renewal of the Portuguese Man and his fatherland, which should produce the Fifth Empire conceived either in earthly or spiritual terms. To these myths I will add a legend preceding the formation of the nation, King Roderick's Legend, because it attempts to justify the loss of Visigothic Spain to the Arabs. (shrink)

Cinema has a long history of engaging with the theme of sacrifice. Given its capacity to stimulate the imagination and resonate across a wide spectrum of human experiences, sacrifice has always attracted filmmakers. It is on screen that the new grand narratives are sketched, the new myths rehearsed, and the old ones recycled. Sacrifice can provide stories of loss and mourning, betrayal and redemption, death and renewal, destruction and re-creation, apocalypses and the birth of new worlds. The contributors to (...) this volume are not just scholars of film but also students of religion and literature, philosophers, ethicists, and political scientists, thus offering a comprehensive and interdisciplinary approach to the relationship between cinema and sacrifice. They explore how cinema engages with sacrifice in its many forms and under different guises, and examine how the filmic constructions, reconstructions and misconstructions of sacrifice affect society, including its sacrificial practices. This book was originally published as a special issue of Angelaki: journal of the theoretical humanities. (shrink)

The increasingly popular idea that cinematic fictions can "do" philosophy raises some difficult questions. Who is actually doing the philosophizing? Is it the philosophical commentator who reads general arguments or theories into the stories conveyed by a film? Could it be the film-maker, or a group of collaborating film-makers, who raise and try to answer philosophical questions with a film? Is there something about the experience of films that is especially suited to the stimulation of worthwhile philosophical reflections? In the (...) first part of this book, Paisley Livingston surveys positions and arguments surrounding the cinema's philosophical value. He raises criticisms of bold theses in this area and defends a moderate view of film's possible contributions to philosophy. In the second part of the book he defends an intentionalist approach that focuses on the film-makers' philosophical background assumptions, sources, and aims. Livingston outlines intentionalist interpretative principles as well as an account of authorship in cinema. The third part of the book exemplifies this intentionalist approach with reference to the work of Ingmar Bergman. Livingston explores the connection between Bergman's work and the Swedish director's primary philosophical source-a treatise in philosophical psychology authored by the Finnish philosopher, Eino Kaila. Bergman proclaimed that reading this book was a tremendous philosophical experience for him and that he "built on this ground." With reference to materials in the newly created Ingmar Bergman archive, Livingston shows how Bergman took up Kaila's topics in his cinematic explorations of motivated irrationality, inauthenticity, and the problem of self-knowledge. (shrink)

Cinema no abrigo: encontros, gestos e acontecimento Resumo: Este texto é fruto de reflexões sobre nossa vivência com o Projeto de Extensão “Educação, Cinema, Outros Territórios” no Lar de Idosos ‘Abrigo Tiradentes’, em Minas Gerais. Um objetivo específico do Projeto é realizar sessões de cinema junto aos idosos em diferentes territórios. A metodologia e a avaliação das ações são compreendidas como um gesto de acompanhamento do Programa de Extensão, amparado na investigação cartográfica, prática metodológica pertinente para o (...) acompanhamento de processos em curso e a produção de subjetividades. As questões que nos colocamos para esta reflexão são: o que pode o cinema num Abrigo de Idosos? Quais conexões poderíamos arquitetar entre cinema, linguagem e acontecimento? O que essas pessoas experimentam com os filmes? O que poderíamos exercitar, a partir do conceito de acontecimento, no pensamento? Buscamos, por meio deste ensaio, um exercício de pensar “acontecimentos” no nosso encontro com os moradores e com os filmes durante as sessões de cinema no Lar de Idosos – Abrigo Tiradentes. Palavras-chave: Acontecimento; Cinema; Idoso. Cinema in the shelter: meetings, gestures and events Abstract: This text is the result of reflections on our experience with the “Education, Cinema, Other Territories” Extension Project at the Lar de Idosos Abrigo Tiradentes, in Minas Gerais. A specific objective of the Project is to hold cinema sessions with the elderly in different territories. The methodology and the evaluation of the actions are understood as a gesture of monitoring the Extension Program, supported by cartographic research, methodological practice relevant to the monitoring of ongoing processes and the production of subjectivities. The questions we ask ourselves for this reflection are: what can cinema do in a Shelter for the Elderly? What connections could we make between cinema, language and event? What do these people experience with films? What could we exercise, based on the concept of event, in thought? Through this essay, we seek an exercise in thinking about “events” in our meeting with the residents and with the films during the cinema sessions at Lar de Idosos – Abrigo Tiradentes. Key-words: Event; Cinema; Elderly. Cine en el retiro: encuentros, gestos y acontecimientos Resumen: Este texto es el resultado de reflexiones sobre nuestra experiencia con el Proyecto de Extensión “Educación, Cine, Otros Territorios” en el Lar de Idosos Abrigo Tiradentes, en Minas Gerais. Un objetivo específico del Proyecto es realizar sesiones de cine con personas mayores en diferentes territorios. La metodología y la evaluación de las acciones se entienden como un gesto de seguimiento del Programa de Extensión, con el apoyo de la investigación cartográfica, la práctica metodológica relevante para el seguimiento de los procesos en curso y la producción de subjetividades. Las preguntas que nos hacemos para esta reflexión son: ¿qué puede hacer el cine en un refugio para ancianos? ¿Qué conexiones podríamos hacer entre cine, idioma y evento? ¿Qué experimentan estas personas con las películas? ¿Qué podríamos ejercer, basado en el concepto de evento, en el pensamiento? A través de este ensayo, buscamos un ejercicio para pensar acerca de los "eventos" en nuestra reunión con los residentes y con las películas durante las sesiones de cine en Lar de Idosos – Abrigo Tiradentes. Palabras-claves: Acontecimentos; Cine; Ancianos. Data de registro: 19/03/2020 Data de aceite: 28/08/2020. (shrink)

Portugal ranks fourth among countries with the highest rate of overweight population, considering that 67.6% of the Portuguese population over the age of 15 is overweight or obese. To our knowledge, limited studies have investigated students’ attitudes toward physical education in Portugal. Such research is necessary because it can provide valuable insights for policy and application in the curriculum development for physical education, which may eventually increase participation in physical and sports activities. This study analyzed students’ attitudes toward physical (...) education (PE) according to sociodemographic variables, including grade level, socioeconomic status, and gender, and their participation in extracurricular sports activities and respective PE grades. The sample comprised 476 high school students (from the 7th, 8th, and 9th-grade levels) from five public schools located in Portugal. The Students’ Attitudes toward Physical Education Questionnaire was adapted and validated for use with Portuguese students as a two-factor model. Findings show that students generally have a moderately positive attitude toward PE. However, students’ positive attitudes tend to decrease throughout high school, which is particularly significant in the 9th grade. Furthermore, students’ attitudes are influenced by gender, extracurricular sports practice, and grades. These findings may help stakeholders reflect on how to frame PE in a more meaningful way to create a solid foundation for maintaining an active lifestyle throughout life. Implications for further research and practice are discussed. (shrink)

This study analyzes Portuguese seniors’ Internet activity and determine their reasons, benefits, and motivations for web use as well as the obstacles faced by non-users. Results were derived from a questionnaire completed by 189 seniors enrolled in universities for seniors. 68.1% defined themselves as Internet users. The seniors asked principally go online to check e-mail and gather information. They state that the Internet is useful, helps them to stay up-to-date, and to preserve relationships. Non-user status is not attributed to (...) old age or health reasons. According to the technology acceptance model, ease of use and perception of utility were related to both Internet use and its intensity of use. Family influence also played a key role. Gender differences were not found in Internet use, intensity of use, or in use motivations. (shrink)

To the contemporary critic, the question of whether Raphael Hythloday really existed is no doubt preposterous. We all know that he never existed and that his name indicates the tension Thomas More wanted to create between a messenger of God, and thus the conveyer of truth, and a nonsensical storyteller. However, the Portuguese historian Luís de Matos published widely, in the 1960s and the 1970s, on the topic. And his monumental work L’Expansion Portugaise dans la Littérature Latine de La (...) Renaissance testifies to a life of academic research partly devoted to trying to prove... (shrink)

Resumo Na entrevista ficcional que se segue, as ideias de Abbé Jean-Baptiste Du Bos sobre as artes de representação serão aplicadas a aspectos relevantes do cinema. Du Bos argumenta que, normalmente, as obras de ficção cinematográfica são projectadas para dar origem a “paixões artificiais”, que têm a função de fornecer alívio ao tédio, sem as consequências negativas que muitas actividades alternativas têm. Também será considerada a questão, se os filmes têm um significado filosófico. O resultado é uma perspectiva desconhecida, (...) do princípio do século XVIII, em algumas temáticas contemporâneas. Palavras-chave : catarse, cinema apocalíptico, Du Bos, emoção, paixões artificiais, paradoxo do afecto negativoIn the following fictional interview, the Abbé Jean-Baptiste Du Bos’ ideas about the representational arts are applied to relevant aspects of the cinema. Du Bos argues that normally works of cinematic fiction are designed to give rise to ‘artificial passions’ that have the function of providing relief from boredom without the negative consequences that many alternative pursuits would have. Du Bos’ solution to the paradox of negative affect and his position on Aristotle’s doctrine of catharsis are also set forth in the interview. The question of whether films have philosophical significance is also taken up. The upshot is a somewhat unfamiliar early 18th-century perspective on some contemporary issues. Keywords: apocalyptic cinema, artificial passions, catharsis, Du Bos, emotion, paradox of negative affect. (shrink)

ArgumentThis paper analyses a process of co-construction of knowledge and its multiple forms of communication in a country of the European periphery in the early twentieth century. It focuses on Lieutenant Manuel Soares de Melo e Simas, a politically engaged Portuguese astronomer, who moved from amateur to professional during the political transition from the monarchy to the republic. Melo e Simas paralleled his professional career in continuous activity of communicating science to the public in the context of republicanism in (...) a double way, by responding to the agenda of republicanism and by playing an active role in shaping it. He aimed at educating lay audiences in the various ways of astronomy, and he reached out to as many people as possible by exploring a multitude of communication channels, from lectures to articles in newspapers and journals. Voiced often within newly created republican institutions, the praxis and the ideas of Melo e Simas helped to mold the new republican scientific ethos. By going beyond mere emphasis on scientism and positivism, usually taken to be the defining characteristics of the new republican ethos, this paper argues that science and the specificities of its multiple forms of communication were central to the way Melo e Simas shaped the republican ideology. Furthermore, popularization of science was used to legitimize the status of professional scientists at the same time that it helped reinforce their institutional setting, still to be negotiated in the forthcoming decades through a complex process which deserves further historical analysis. (shrink)

For Alain Badiou, films think, and it is the task of the philosopher to transcribe that thinking. What is the subject to which the film gives expressive form? This is the question that lies at the heart of Badiouʹs account of cinema. He contends that cinema is an art form that bears witness to the Other and renders human presence visible, thus testifying to the universal value of human existence and human freedom. Through the experience of viewing, the (...) movement of thought that constitutes the film is passed on to the viewer, who thereby encounters an aspect of the world and its exaltation and vitality as well as its difficulty and complexity. Cinema is an impure art cannibalizing its times, the other arts, and people -- a major art precisely because it is the locus of the indiscernibility between art and non-art. It is this, argues Badiou, that makes cinema the social and political art par excellence, the best indicator of our civilization, in the way that Greek tragedy, the coming-of-age novel and the operetta were in their respective eras. -- Publisher description. (shrink)

ABSTRACT I here read the Iranian film Hit the Road through the eyes of the French philosopher Alain Badiou. In doing so, I hope to illuminate the triadic link between cinema, philosophy and paideia (ethical-political education). To explore, I adopt a philosophical methodology with the double ambition to reveal the latent pedagogies of the film and to acquire insights on the distinctiveness of a Badiouan conception of cinema. My questions are to what degree and in what ways cinematic (...) experience can be said to promote ethical-political formation. I start by portraying Badiou’s cinematic philosophy. Next, I expose how Hit the Road confronts us with a hidden real. Third, I close the paper by considering Badiou’s idea of cinema as an influential form of ethical-political education. (shrink)

Neste artigo pretendemos compreender se, e de que forma, o cinema pode servir a uma cosmopoética do pensamento decolonial. Para tanto, nos apoiaremos em alguns conceitos dos estudos decoloniais, que buscam atualizar a tradição crítica do pensamento latino-americano a partir da problematização do pensamento hegemônico, oferecendo novas releituras histórias e novas possibilidades de produção dos saberes. A perspectiva decolonial opera fornecendo novos horizontes para o pensamento, promovendo uma ecologia dos modos de saber e conhecimento não reconhecidos pelas epistemologias dominantes. (...) Assim, buscamos entender a potência cosmopoética do cinema e como ele pode contribuir, dentro dos espaços de educação, como alternativa epistemológica para o pensamento decolonial. (shrink)

Queer cinema takes shape between experimental film, the intimate diary form, art video, documentary, dream fiction, recording and militant video-tracts. In the introductory article, we address several dimensions of this creation : one reflects a practice in queer art according to localized experience, as in the films of Hervé Guibert, David Wojnarowicz, and Raphaël Vincent or the photographic work of Del LaGrace Volcano, based on the experience of AIDS or trans-identities. Another dimension is the attempt to constitute a sexual (...) cinema, with Hans Scheirl or Maria Beatty : these are explorations of an exploded, « de-gendered » body, which directly connects moving images to chemical and bodily transformations, inner mental sensations, jouissance and deterritorialized sexual practices. Lastly, we discuss in more general terms the emergence of a queer cinema which serves as a site for the elaboration of a counter-cinema, a withdrawal from cinema which casts a hegemonic gaze on subaltern political subjects. The documentary genre is then hollowed out from within by this decolonizing gesture. (shrink)

Michael Haneke is one of the most important directors working in Europe today, with films such as Funny Games (1997), Code Unknown (2000), and Hidden (2005) interrogating modern ethical dilemmas with forensic clarity and merciless insight. Haneke's films frequently implicate both the protagonists and the audience in the making of their misfortunes, yet even in the barren nihilism of The Seventh Continent (1989) and Time of the Wolf (2003) a dark strain of optimism emerges, releasing each from its terrible and (...) inescapable guilt. It is this contingent and unlikely possibility that we find in Haneke's cinema: a utopian Europe. This collection celebrates, explicates, and sometimes challenges the worldview of Haneke's films. It examines the director's central themes and preoccupations--bourgeois alienation, modes and critiques of spectatorship, the role of the media--and analyzes otherwise marginalized aspects of his work, such as the function of performance and stardom, early Austrian television productions, the romanticism of The Piano Teacher (2001), and the 2007 shot-for-shot remake of Funny Games. (shrink)

In this article I propose the concept of ‘non-cinema’. The term points to that which is excluded from cinema, and accordingly I seek to explore the various reasons for these exclusions, in particular the political/ideological ones, together with how these exclusions are manifested on an aesthetic level. Instead of André Bazin's founding question regarding what is cinema, therefore, this essay asks what cinema is not – and why. This question is of redoubled importance in an age (...) of technological change: not only are nearly all films now not made using the traditional equipment of filmmaking (analogue cameras, linear editing systems, polyester film stock), but nor do they get exhibited in traditional theatrical venues (instead circulating on DVD and related formats, and online). On a related note, increasing numbers of filmmakers actively are moving away from feature filmmaking, e.g. into television. The essay focuses in particular on ‘non-cinematic’ works by Philippine director Khavn de la Cruz and American director Giuseppe Andrews. Formally, I argue that their films deliberately embrace that which is perceived as non-cinematic in order to put forward what Argentine philosopher Enrique Dussel might define as a ‘barbarian’ film-philosophical vision of the world, which is reminiscent of Antonio Negri's concept of multitude, and which also has an ethical dimension in that it proposes the inclusion of the overlooked and the dispossessed, and of the darkness that necessarily accompanies the light. (shrink)

Introduction : cinema, memory, modernity: the return of memory as film -- No escape from time : memory and redemption in the international postwar art film -- The "crisis" of memory : "traumatic identity" in the contemporary memory film -- "Global memory" : cinema as lingua franca and the commodification of the image -- The eye of history : memory, surveillance and ethicality in the contemporary art film -- "Prosthetic memory" and transnational cinema : globalized identity and (...) narrative recursivity in City of God -- Conclusion: remembering to forget: the catachreses of modernity. (shrink)

This essay examines Gaspar Noë's film, Enter the Void, in light of the work of both Gilles Deleuze and Alain Badiou. Arguing that the film shows to viewers the 'void' that separates subjects from objects, the essay also considers Noë's film in the light of drug literature and the altered states induced by cinema and describe by Anna Powell. Finally, the essay proposes that Enter the Void is a work of 'unbecoming' cinema, which in turn points to expansion (...) of cinematic form through the use of digital technologies. (shrink)

Cinema against Spectacle -- Introduction -- Cinema against Spectacle -- I. Opening the Window? -- II. Inventing the Cinema? -- III. Filming the Disaster? -- IV. Cutting the Figure? -- V. Changing the Spectator? -- Technique and Ideology: Camera, Perspective, Depth of Field -- Introduction -- I. On a Dual Origin -- The ideological place of the "base apparatus" -- Birth = deferral: The invention of the cinema -- II. Depth of Field: The Double Scene -- (...) Bazin's "surplus realism" -- The work of "transparency" -- For a materialist history of the cinema -- "For the first time ..." -- III."Primitive" Depth of Field -- IV. Effacement of Depth/Advent of Speech -- V. Which Speech? (shrink)